“Teaching Stevens’s Poetry through Rhetorical Structure.” Teaching Wallace Stevens: Practical Essays, edited by John N. “Dialogizing Adaptation Studies: From One Way Transport to a Dialogic Process.” Adaptation Studies: New Challenges, New Directions, edited by Jørgen Bruhn, Anne Gjelsvik, and Eirik Frisvold Hanssen, Bloomsbury, 2013, pp. Parts of a World: Wallace Stevens Remembered An Oral Biography.
“About Ned.” The Ned Rorem Website, accessed 6 Mar. We then analyze such issues as Rorem’s selection of poems and their idiosyncratic sequencing his choice of genre and instrumentation the question of a late style the musical enhancing of particular images, sounds, and ideas from the selected texts and the question how Rorem’s music might allow us to hear, experience, and understand Stevens’s poetry in new ways. After an introduction in which we draw insights from two further composers who set Stevens to music (Elliott Carter and Matthew Barber), the case study opens with a substantial portrait of Rorem as a composer, in particular, his love of the art song as a genre and the Francophilia of his style (conspicuously shared by Stevens), for which we build on the work of musicologists as well as on Rorem’s own writings. Composed between December 1971 and February 1972, Rorem’s song cycle for voice, cello, and piano Last Poems of Wallace Stevens sets seven of the poet’s lyrics from the period 1953–1955 to music. They were also ranked #33 on VH1's 100 Greatest Artists of Hard Rock.The final chapter, principally authored by Eeckhout, explores how one major American composer from the second half of the twentieth century, Ned Rorem, has responded to Stevens’s work.
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